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La Relève Critique D'albert Aurier La relève critique d’Albert Aurier Julien Schuh To cite this version: Julien Schuh. La relève critique d’Albert Aurier. Colloque international ” Les revues, laboratoires de la critique (1880-1920) ”, Nov 2007, Le Mans, France. hal-00987276 HAL Id: hal-00987276 https://hal.archives-ouvertes.fr/hal-00987276 Submitted on 5 May 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. LA RELÈVE CRITIQUE D’ALBERT AURIER Julien Schuh Il ne s’agit pas pour moi de revenir une nouvelle fois sur Aurier, découvreur héroïque de Gauguin et de van Gogh, méconnu et pourtant tant lu. Ce qui m’a intéressé dans sa figure, c’est moins sa présence que sa disparition : en mourant opportunément le 5 octobre 1892, à vingt-sept ans, d’une fièvre typhoïde qu’il refusa crânement de faire soigner, Aurier nous a donné l’occasion d’observer ce que l’effacement d’une figure importante dans un champ critique donné peut révéler de la structuration dudit champ. Cet instant de tension met à nu les rouages et permet de mesurer les influences réelles, les polarisations, et d’analyser, par l’appel d’air créé, les effets de carambolage, la redistribution des critiques, des éloges et des blâmes. Remy de Gourmont a tracé dans un article du Journal d’octobre 1892 son portrait en futur grand de la littérature et de la critique, inventeur d’une théorie nouvelle de l’art que lui seul pouvait défendre avec suffisamment de conviction : En un mot, il faisait autorité, et, même avec une publicité insuffisante, il créa des réputations qui furent aussitôt ratifiées. Les artistes de la génération montante, les « Indépendants » et quelques autres groupes, font, en lui, une perte qu'il n'est pas excessif de qualifier d'irréparable ; on pourra continuer la critique synthétique qu'il avait inaugurée, mais lui seul savait ce qu'il y fallait dire, et nul ne le remplacera1. Ma question est la suivante : Aurier était-il aussi irremplaçable que l’affirmait Gourmont ? Sa mort entraîne-t-elle une reconfiguration de l’espace de la critique d’art et la disparition d’un espace de légitimation pour certains peintres (Gauguin, Van Gogh, Bernard, Filiger, de Groux) ? Cette question, il faut la poser dans un cadre plus large que celui du seul Mercure de France2 ; c’est dans l’ensemble de l’espace des revues « idéalistes » ou d’avant- garde que cette disparition se fait sentir. Je n’étudierai ici que les petites revues, non les grands noms comme la Gazette des Beaux-Arts (qui ignore complètement les galeries), L’Artiste, la Revue des Deux-Mondes3. C’est vers Le Mercure de France, La Revue blanche, 1 Remy de Gourmont, « Les Dieux méchants », Le Journal, 8 octobre 1892, p. 1-2 ; cité par Alfred Vallette, « Journaux et revues », Le Mercure de France, n° 35, novembre 1892, p. 275-6. 2 Ce travail dans un cadre restreint a déjà été effectué par Geneviève Comès, « Le ‘‘Mercure de France’’ dans l’évolution des arts plastique (1890-1895) », Revue d’Histoire Littéraire de la France, janvier-février 1992, « Le Mercure de France et la littérature en 1890 », Armand Colin, p. 40-55. Voir également James Kearns, Symbolist Landscapes. The Place of Paintings in the Poetry and Criticism of Mallarmé and his Circle, Londres, The Modern Humanities Research Association, 1989. 3 Voir à ce sujet Constance Naubert-Riser, « La critique des années 1890. Impasse méthodologique ou renouvellement des modèles théoriques ? », dans Jean-Paul Bouillon (dir.), La Critique d’art en France : 1850- 1900, actes du colloque de Clermont-Ferrand, 25, 26 et 27 mai 1987, Saint-Étienne, CIEREC, 1989, p. 193-204. 1 L’Ermitage, La Plume, La Revue indépendante, les Essais d’Art libre, les Entretiens politiques et littéraires, L’Art littéraire et L’Ymagier que je porterai mes regards. Il ne s’agira pas de définir des nuances théoriques, dans la mesure où ces critiques partagent des options très proches, mais de s’intéresser, très concrètement et pragmatiquement, aux placements des critiques, à leurs changements d’attitude envers certains peintres, à leur redistribution dans l’espace de ces petites revues — ceci en deux temps : d’abord par un cliché de l’état de la critique d’art dans ces revues au moment de la mort d’Aurier, entre septembre et décembre 1892 ; puis par l’analyse des remaniements de personnel et des changements de points de vue sur une période de deux ans, jusqu’en décembre 1894, époque où l’on peut considérer que les remous provoqués par la mort d’Aurier s’estompent et que ses positions critiques cessent de définir celles de ses successeurs. 1. L’état de la critique d’art fin 1892 Les réactions à la mort d’Aurier permettent déjà de tracer les grandes lignes de démarcations dans les revues. On trouve les réactions positives aux lieux attendus : Le Mercure de France, bien évidemment, qui consacre un numéro spécial en décembre à Aurier, publiant des inédits et mettant en chantier ses Œuvres posthumes4 ; les Essais d’Art libre, qui accueillent souvent la participation de Gourmont, avec eux aussi un numéro spécial en novembre 1892 qui contient un long inédit d’Aurier et des souvenirs de Julien Leclercq5, le cadet de quelques jours d’Aurier, compagnon du Moderniste illustré et co-fondateur du Mercure de France. Il affirme — et il n’a finalement pas tort — que le « nom d’Albert Aurier est inséparable de l’histoire picturale de ce temps, et, dans un avenir moins lointain qu’on l’entrevoit, aux jours du triomphe de ces idéalistes qu’il prôna, on ne pourra rien écrire sans citer des pages de lui6. » Marc Legrand, dans L’Ermitage, en octobre 1892, parle des « critiques d’art remarquées » d’un « scrupuleux esthète épris d’œuvres rares et de sincères théories7 » ; la dette critique envers Aurier est d’ailleurs marquée indirectement en septembre sous la plume de William Ritter8, qui fait d’Henry de Groux un artiste isolé, à la manière du 4 Le Mercure de France, n° 36, décembre 1892. 5 Julien Leclercq (1865-1901), venu d’Armentières, gagna Paris en 1885 ; il est l’auteur du portrait d’Aurier dans les Portraits du Prochain Siècle, t. I, « Poètes et prosateurs », Edmond Girard, 1894, p. 137. Voir sa nécrologie dans Le Mercure de France, n° 144, décembre 1901, p. 854, et le chapitre que lui consacrent Aurélien Marfée et Léopold Saint-Brice, Revue À Rebours, n° 50, « Les Fondateurs du Mercure de France », printemps 1990, p. 107-112. 6 Julien Leclercq, « Albert Aurier », Essais d’Art libre, novembre 1892, p. 203. 7 Marc Legrand, « I. Nécrologie », L’Ermitage, octobre 1892, p. 234. 8 William Ritter, « Henry de Groux », L’Ermitage, septembre 1892, p. 149-152. 2 van Gogh d’Aurier9. Même discours dans les Entretiens politiques et littéraires d’octobre 1892 : « Il avait donné déjà plus que des promesses de talent et d’autres que ses amis, toujours suspects de tendre partialité, reconnaissaient en lui un critique d’art d’une entière originalité et le théoricien de toute une école nouvelle de peintres10. » Dans les autres revues, la nécrologie relève plutôt de l’éreintage : ainsi de l’ironie de Jean de la Baume dans la Revue indépendante en octobre 1892, sous couvert d’éloge funèbre : si « La Revue Indépendante ne peut, pour des dissentiments purement artistiques, manquer de signaler la disparition de l’un de ses anciens collaborateurs, Albert G. Aurier11 », il faut tout de même indiquer qu’Aurier « s’enfonçait dans le culte du rare, culte dangereux mais aux dangers duquel il ne croyait pas, ce poète et ce romancier et qui mène cependant à croire au génie des plus hilares fumistes12. » En décembre, ce sont ses théories critiques qui se voient attaquées sous la plume de Charles Saunier, à travers les figures des peintres symbolistes, accusés de déformer au mépris de la justesse du dessin et de réagir « littérairement13 » : « Quel que soit donc le talent de MM. Denis, Sérusier et de leurs amis, leurs tentatives ne sauraient être considérées dans l’évolution artistique que comme des anomalies, attrayantes peut-être, nécessaires non14 ! » La littérarité est aussi attaquée en décembre 1892 dans L’Ermitage par Alphonse Germain (né à Lyon en 1861), chantre de l’harmonie, qui voit en Ruskin le fléau du Préraphaëlisme par l’imposition de valeurs littéraires sur un art pictural15. Enfin, dans La Plume, Yvanhoé Rambosson profite de la troisième exposition de peintres impressionnistes et symbolistes chez Le Barc de Boutteville pour nier l’attrait de la déformation : « Je ne crois pas qu’un art durable et autre que pervers, précieux et passager, puisse se fonder sur le principe de la déformation16 ». Ce qui ressort nettement de ce panorama à la mort d’Aurier, c’est l’impossibilité de ne pas se référer à ses théories pour affirmer son adhésion ou pour les rejeter ; si tous ces 9 G.-Albert Aurier, « Les Isolés, Vincent van Gogh », Le Mercure de France, n° 1, janvier 1890, p. 24-29 — notons qu’Aurier prévoyait également de placer de Groux dans catégorie des « Isolés » dans le recueil de ses critiques qu’il prévoyait au moment de sa mort, ce qui sera fait dans les Œuvres posthumes de 1893.
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